By E. O. Plauen
Das Gespann des gutmütigen, nur manchmal aufbrausenden Vaters und des verschmitzten, immer wieder einer unerwarteten Idee folgenden Sohns ist ein Klassiker: Generationen von Kindern wuchsen mit den hinreißenden Bildergeschichten auf. Ursprünglich erschienen sie 1934 bis 1937 in der Berliner Illustrierten Zeitung. Für den Nazi-Gegner Erich Ohser aus Plauen (= e. o. plauen) waren diese unpolitischen Zeichnungen die Grundlage seiner bürgerlichen Existenz. Gerettet haben sie ihn nicht: 1944 wurde er wegen »Wehrkraft-Zersetzung« verhaftet; in der Nacht vor Prozessbeginn erhängte er sich in seiner Zelle.
Die Ausgabe reproduziert alle drei Originalbände der »Vater und Sohn«-Geschichten aus den Jahren 1935, 1936 und 1937. Das Nachwort von Elke Schulze führt in sein Leben und sein Gesamtwerk ein, das mit Porträts, politischen Karikaturen und Landschaften deutlich umfangreicher ist, als guy gemeinhin erwartet. Auch von diesem Schaffen finden sich im Nachwort Beispiele.
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Additional resources for Vater und Sohn: 150 Bildgeschichten
Sample text
39 In Heidegger’s conception, however, this melting away is a kind of renewal insofar as the water this snowman will become will again transform into snow once the cycle of precipitation completes its revolution. The essential fragility that characterizes the snowman mirrors the instability of life’s journey. This, in turn, echoes the textual properties that Derrida associates with endless possible readings. In questioning theological matters, then, this snowman provides a measure of hope in the face of a condition that is essentially hopeless in its mortal (as far as snowmen go) nature.
A few panels later, Calvin’s boredom morphs into a similar escape; he soars through the air — free once again from school — on the back of a pterodactyl. Like his imagined encounter with Susie, Calvin’s dinosaur-related escape from reality ultimately resists the order that his actual experiences impose. The final word is a ride (without borders) that boredom cannot contain. Another strong example of the imagination’s freedom comes in one of the more unexpected twists in the dinosaur corpus from Calvin and Hobbes.
One can read this strip as another clever example of Calvin’s snow-fashioning abilities; there is still plenty of meaning to be had in this capacity. The point that Raschke raises, however, speaks to the risk and reward that come with a willingness to continue beyond the meaning that floats on the text’s surface. Martin Heidegger offers a dense but illuminating analysis of how theological thinking can speak to the unstable nature of the human condition: “Vanishing can also be an inconspicuous passing away into what is coming, into a decisive belonging to whatever is coming.